DOCSLIB.ORG

DECEMBER, 1946 I the CAPITOL the CAPITOL PACE 2 PACE 3 DAVE DEXTERS the Tuckers Fight Betty Hutton

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DECEMBER, 1946 I the CAPITOL the CAPITOL PACE 2 PACE 3 DAVE DEXTERS the Tuckers Fight Betty Hutton ........... f*OW HOUY*OOD DECEMBER, 1946 I THE CAPITOL THE CAPITOL PACE 2 PACE 3 DAVE DEXTERS THE Tuckers Fight Betty Hutton Published Monthly by surface noise For L. A . Biz CAPITOL PUBLICATIONS, INC. Returning to Sunset and Vine, Hollywood 28, Calif. THERE’S MORE to the breakup of the fine little Eddie Heywood In Ballrooms Capitol Discs EDITED BY DAVE DEXTER, JR. band than his managers admit. Friends of the young pianist, who It’s Tucker vs. Tucker in Holly­ Bouncing Betty Hutton of Para­ has been hospitalized several weeks, declare he has tuberculosis— w oo d . mount Pictures and Capitol discing and it struck just as Eddie was achieving the accla im and financial Tommy opened at the Palladium fame has returned, after an absence pop-offs remuneration he has so long deserved. and Orrin followed Eddy Howard of a year, to the Capitol label. And Here Is the Tom Dorsey Story into Casino Cardens, the Tommy Blonde Betty, who made her first TO M M Y DORSEY may play the N. Y. Capitol Theater sho rrly , b ut Dorsey ballroom in nearby Ocean Park, discs two years ago and created no small commotion, will resume as a if he does it w ill be a strictly pickup Local 802 c ombo backing his in mid-November. And the signboards Cuban Kenton Fanatic Capitol artist in December following a golden tram. TD is serious about abandoning his ban d. He wants to and radio spots are something to see Cienfuegos, Cuba conference with B. C. (Buddy) De- travel several months, and return to Hollywood to dabble In film produc­ and hear as the two Tuckers battle it I’m an announcer of one of the local Sylva, chairman of Cap’s board of di­ tion and hypo his Casino Cardens Ballroom Into one o f the nation’s best. stations. We have several programs of out for a lion’s share of the town’s rectors. American records and I always tell the Benny Carter Wins Race for Rest terp patronage. BIG TEA is back in California after Betty, who has been taking time out Cuban swing fans all the news I read gENNY CARTER, third of the Jazz Giants to disband h is orchestra Hal McIntyre originally was to have hitting the road a year and a month fo r motherhood, said she was “ so happy without a rest. Teagarden hopes to in The Capitol about the bands and in the last month, found himself physically pooped after all those appeared at Casino Gardens. But he I’m silly” about returning to the label favorite singers. I want you to let cancelled out. Dorsey then obtained remain on the west coast for “a which gave her a start. Her first records years on the road. But he luckily got home— and chec ked carefully Stan Kenton know that he is my favorite Orrin (Tucker, that is) as a fast re­ long time, the longer the better,” under the new contract will be out in by medics— before keeling over as did Heywood. “ I’ll probably do some bandleader and we have a club named placement. He said. Featured in his band are his January. Capitol also renewed Ella Mae picture scoring,” Carter says, "and a lot of original writing and arranging brother Charlie on trumpet and sis­ “Stan Kenton Cuban Club” with 158 Charlie Barnet is due next at the Morse’s binder for the umpteenth time. when I get around to It. But first I’m going to eat and sleep u ntil I can’t ter, Norma, at the Steinway. Jack members. They call themselves “ Artistry Casino, w ith Charlie Spivak tagged for stand It anymore.” still blows a potent sliphorn. And in Rhythm Boys.” Please keep The a Dec. 24 opening n ig h t a t th e Pallad­ Jerry Wald: “My New Band W ill Swing— With Strings” Californians are glad to have him Anifa O’Day Singing Capitol coming my way. You can’t im­ ium replacing Tommy (Tucker, that is). back. agine how much I enjoy it. JERRY WALD junked his band last month for still a diffe re n t Meanwhile, there’s plenty of Tucker In Hollywood Bistro ARM ANDO C. RIOS reason. “ It simply wasn’t good enough,” he admits. “ My new outfit javailable in the Los Angeles area. Local Coming out of retirement without Radio Station CMHM w ill emphasize strings but it w ill swing. These colum nist cornballs dancers, in fact, are just about tuck- advance publicity, Anita O’Day popped have been quoting me, falsely, that I’m woodsheddlng a schmalz group. ered out. 'Copacabana' up at the Morocco Club in H’wood in Actually, we’ll jump more than we did before.” November as the Tuesday night attrac­ Still Undecided: Sir Harry and the Big Cate tion with the Alvin Quintet. Tuesday is Red Nichols’ nig h t o ff. A n ita s till Front Cover J^ARRY JAMES may or may not have abandoned his band, and Pegged on Page One of this, the Lands Russell wants to build her own night club, Christmas issue of the Capitol News, there are persistent reports that jack Teagarden, too, may fold, Andy Russell will star with Car­ she says. are Stan Kenton and three of the side- vacation, and then reorganize with a smaller aggreg ation that can men Miranda in the film that Monte men who helped make Stan’s “the” be booked exclusively In Southern California. All of which adds up to four Proser is producing, “ Copacabana.” band of 1946 just as it was generally name bands junked and two more doubtful. Christmas In Hollywood this rated, 12 months ago, as “the” band year will be a little different. at least for music fans. The young baritone, still heard o f 1945.* Two Great Young Stars in Louis Ohl’s Ork every Saturday on the Lucky Strike It was just five years ago that Stan LS/MFT program via CBS, has an un­ J_OUIS OHLS, a young trumpeter, is back in Hollywood w ith his made his debut as a bandleader. usual contract which allows him to re­ In 1945 he made it, as did Woody band. And young altolst Art Pepper, as well as his juve singer, ject any scenes th a t displease him. Herman, Clenn Miller, Benny Goodman Toni Aubin, had better be under contract. The big boys are sure Newspapermen Earl W ilson, Louie and Paul Whiteman ahead of him. He’s to steal ’em— they’re that great. Sobol and Abel Green also w ill be seen been making it since. Witness his cur­ Reflections Off a Corona Portable in “Copacabana.” United Artists will rent 8-week run at the New York THE ART LUND-Benny Goodman Imbroglio has a lot of th e ir pals release it in 1947. Paramount Theater, in which he has attracted the biggest grosses in the chuckling. Both are great guys, both like each othe r m ore than theater’s history; his solid bookings either cares to admit, and both are bull-headed eno ugh to hold out ‘ If You Knew Susie’ well into 1947 at the nation’s finest indefinitely just so the winner can claim a moral victory. Mel Powell Next for Banjo Eyes hotels and ballrooms; the motion pic­ now teaching in Manhattan. And taking lessons himself, on the side, from And now Eddie Cantor is being given tures he has completed, and the pictures another teacher. Nat Cole will have a bylined story In the 1947 Esky the green light in the movies, following and network radio show, sponsored, Jazz Yearbook, and the way that he praises California w ill certainly bring the success o f the A l Jolson celluloid. which are now being negotiated in his him an honorary card In the C. o f C. The hysteria surrounding be-bop Cantor himself will star In “ If You behalf. Take note, too, of his new Is fast declining; trumpeter-leaders of the “ hit ’em and miss” school are Knew Susie” which rolls Dec. 3 at WALT DISNEY and Johnny Mercer , “ Artistry in Rhythm” album which may fast becoming extinct. and that reminds that Charlie Emge’s and Ross RKO. The musical score w ill be handled toy with an oldtime slide viewer likely wind up as the hottest-selling Russell’s efforts to promote a benefit for Bird Parker (w ith Down Beat by Harold Adamson and Jimmy Mc­ which Disney keeps in his Holly­ package of wax in a full decade. mag officially sponsoring) rate a deep bow. Bird still is in bad shape. • Hugh. This— Stan K enton’s— is the band o f George Von Physter, bass-playing artist whose lithographs adorn the wa s wood studio. The slides they see, the year. For the second year. For more of boites everywhere, displayed his newest work Nov. 18. I t ’s In oils, an however, are from Disney’s new news about Stan and his gang of spir critics applauded. Bobby Sherwood bounced back from a Broadway LECCY Joan Fulton is th e pride o f Ciro’s Nabs Arnaz “ Song of the South” movie. Mercer, ited young champions, and what Kenton play as If he were on a pogo stick. His current theater tour with Lena Universal-International Studios. She Desi Arnaz and his Afro-Cuban combo a m in t julep Georgian him self, has a hit record in “Zip-A-Dee-Doo- plans for the coming year, gander “ Off Horne is proving buffo, and many believe his band will h it the charme gets her big chance in “ The Michi­ followed Carmen Cavallaro into Ciro’s, gan Kid” due soon in Cinecolor.
Load more

Recommended publications
  • Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2017 Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Materials Conservation Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Industrial and Product Design Commons, Interdisciplinary Arts and Media Commons, and the Metal and Jewelry Arts Commons Textile Society of America, "Textile Society of America Newsletter 29:2 — Fall 2017" (2017). Textile Society of America Newsletters. 80. https://digitalcommons.unl.edu/tsanews/80 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 29. NUMBER 2. FALL 2017 Photo Credit: Tourism Vancouver See story on page 6 Newsletter Team BOARD OF DIRECTORS Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of Communications) Designer: Meredith Affleck Vita Plume Member News Editor: Caroline Charuk (TSA General Manager) President [email protected] Editorial Assistance: Natasha Thoreson and Sarah Molina Lisa Kriner Vice President/President Elect Our Mission [email protected] Roxane Shaughnessy The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, [email protected] political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors from museums and universities in North America.
    [Show full text]
  • Big Band Arrangers of the Swing Era Selected List
    Big Band Arrangers of the Swing Era Selected list Band leader Arrangers Tex Beneke Henry Mancini Jimmy Dorsey Tutti Camarata Sonny Burke Tommy Dorsey Paul Weston Sy Oliver Axel Stordahl Benny Goodman Eddie Sauter Buster Harding Fletcher Henderson Horace Heidt Frank DeVol Woody Herman Heil Hefti Ralph Burns Igor Stravinsky Harry James Leroy Holmes Dave Mathews Isham Jones Gordon Jenkins Hal Kemp John Scott Trotter Elliot Lawrence Gerry Mulligan Ray McKinley Eddie Sauter Red Norvo Eddie Sauter Artie Shaw Ray Conniff Johnny Mandel Buster Harding Charlie Spivak Nelson Riddle Claude Thornhill Gil Evans Leader/Arranger Arranger Count Basie Buster Smith Jimmy Mundy Andy Gibson Herschel Evans Cab Calloway Foots Thomas Harry White Duke Ellington Billy Strayhorn Earl Hines Jimmy Mundy Budd Johnson Stan Kenton Pete Rugolo Bill Holman Andy Kirk Mary Lou Williams Earl Thompson Glen Miller Bill Finegan Billy May Claude Thornhill Gil Evans Bill Borden Gerry Mulligan Chick Webb Edgar Sampson Charlie Dixon Andy Gibson Herschel Evans Leader/Arranger Les Brown Benny Carter Larry Clinton Will Hudson Elliot Lawrence Russ Morgan Ray Noble Boyd Raeburn Raymond Scott Musicians in Bands that were Important Arrangers Leader Arranger Instrument Bob Crosby Bob Haggart bass Matty Matlock saxophone Deane Kincaide saxophone Jimmy Dorsey Tutti Camarata trumpet Joe Lipman piano Woody Herman Heil Hefti trumpet Ralph Burns piano Hal Kemp John Scott Trotter piano Gene Krupa Gerry Mulligan saxophone Jimmy Lunceford Sy Oliver trumpet Glen Miller Henry Mancini piano Artie Shaw Ray Conniff trombone Johnny Mandel trombone Charlie Spivak Nelson Riddle trombone .
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • 'Slow Drag' Pavageau
    NEWSLETTER OCT-2016 ologyology Alcide ‘Slow Drag’ Pavageau G.H.B. JAZZ FOUNDATION • JAZZOLOGY RECORDS GEORGE H. BUCK JAZZ FOUNDATION 1206 DECATUR STREET • NEW ORLEANS, LA 70116 Phone: +1 (504) 525-5000 Office Manager: Lars Edegran Fax: +1 (504) 525-1776 Assistant: Mike Robeson Email: [email protected] Office Hours: Mon-Fri 11am – 5pm Website: www.jazzology.com Entrance: 61 French Market Place Newsletter Editor: Paige VanVorst Contributors: Lars Edegran, Mike Layout & Design: David Stocker Robeson, David Stocker HOW TO ORDER COSTS – U.S. AND FOREIGN MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB Jazz Foundation. You will then receive your membership card by return mail or with your order. *Membership continues as long as you order at least one selection per year. You will also be able to buy our products at a special discounted price: CDs for $13.00 DVDs for $20.00 Books for $25.00 NON-MEMBERS For non-members our prices are: CDs for $15.98 DVDs for $25.00 Books for $30.00 DOMESTIC MAILING & POSTAGE CHARGES There is a flat rate of $3.00 regardless of the number of items ordered. OVERSEAS SHIPPING CHARGES 1 CD $13.00; 2-3 CDS $15.00; 4-6 CDS $20.00; 7-10 CDS $26.00 Canadian shipping charges are 50% of overseas charges ALL PAYMENTS FOR FOREIGN ORDERS MUST BE MADE WITH EITHER: • INTERNATIONAL MONEY ORDER • CHECK DRAWN IN U.S. DOLLARS FROM A U.S.
    [Show full text]
  • Aaron SACHS: Frank SACKENHEIM: Fats SADI: Eddie SAFRANSKI
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Fats SADI: "Ensadinado" Fats Sadi -vib; Jimmy Woode -b; Francy Boland -p; Kenny Clarke -d; recorded March 21, 1966 in Köln 16279 NIGHT LADY 4.18 Saba SB15111 16280 ENSADINADO 4.46 --- 16281 GOODBYE 3.16 --- 16282 THE SAME 5.06 --- 16283 ALL OF YOU 3.24 --- 16284
    [Show full text]
  • Beautiful and Damned: Geographies of Interwar Kansas City by Lance
    Beautiful and Damned: Geographies of Interwar Kansas City By Lance Russell Owen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Geography in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Johns, Chair Professor Paul Groth Professor Margaret Crawford Professor Louise Mozingo Fall 2016 Abstract Beautiful and Damned: Geographies of Interwar Kansas City by Lance Russell Owen Doctor of Philosophy in Geography University of California, Berkeley Professor Michael Johns, Chair Between the World Wars, Kansas City, Missouri, achieved what no American city ever had, earning a Janus-faced reputation as America’s most beautiful and most corrupt and crime-ridden city. Delving into politics, architecture, social life, and artistic production, this dissertation explores the geographic realities of this peculiar identity. It illuminates the contours of the city’s two figurative territories: the corrupt and violent urban core presided over by political boss Tom Pendergast, and the pristine suburban world shaped by developer J. C. Nichols. It considers the ways in which these seemingly divergent regimes in fact shaped together the city’s most iconic features—its Country Club District and Plaza, a unique brand of jazz, a seemingly sophisticated aesthetic legacy written in boulevards and fine art, and a landscape of vice whose relative scale was unrivalled by that of any other American city. Finally, it elucidates the reality that, by sustaining these two worlds in one metropolis, America’s heartland city also sowed the seeds of its own destruction; with its cultural economy tied to political corruption and organized crime, its pristine suburban fabric woven from prejudice and exclusion, and its aspirations for urban greatness weighed down by provincial mindsets and mannerisms, Kansas City’s time in the limelight would be short lived.
    [Show full text]
  • For Additional Information Contact the Archives Center at 202.633.3270 Or
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon.
    [Show full text]
  • Primary Sources: an Examination of Ira Gitler's
    PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
    [Show full text]
  • Count Basie and His Bands
    NEW YORKJAZZ MUSEUM , . (:OU~T 13A,I~ and 171,13A~u, _.......-- · ' - . -~•,.,. - (:OU~T 13Ail~ and I-iii 13A~l)i Edited by Dan Morgenstern and Jack Bradley Biographies by Bill Esposito Dan Morgenstern Arnold J. Smith © Copyright 1975 by New York Jazz Museum Cover photo/Phil Stern Cover design/ Fran Greenberg WILLIAM "COUNT" BASIE A PROFILE OF HIS LI FE & MUSIC 1904 Born , August 21, at Red Bank, N.J. 1917 Starts as a drummer, switches to piano. 1919-20 Plays in local bands and stage shows in N. Y. and N.J. Takes lessons from Fats Waller. 1925-27 Tours theaters accompanying variety acts: Kate Crippen and Her Kids, Sonny Thompson Band, Gonzelle White. Vaudevillians ; first hears Kansas City style music in Tulsa, Walter Page Blue Devils; Gonzelle White Show folds in Kansas City; Accompanies Whitman Sisters in Kansas City . 1928 Join s Blue Devils in Dallas, Texas in July. 1929 Plays briefly with Elmer Payne and his Ten Royal Americans (summer). 1930 Basie and members of the Blue Devils join Benny Mote.n's band. 1934 Leaves Moten early in year to lead own band (under Mote.n's auspices) in Little Rock, Arkansas, then rejoins Moten. 1935 Death of Moten breaks up the famous Kansas City unit, after working a short time under Mote.n's brother Buster's leadership; returning to Kansas City, · works as a single, then with own trio before jointly leading "Barons of Rhythm" with altoist, Buster Smith. 1936 Broadcasts over Station WIXBY and is heard by John Hammond, famed jazz buff and sponsor, who initiates the band's first national tour; plays at Grand Terrace in Chicago - not a rousing success - then the Vendome Hotel in Buffalo, N.Y.
    [Show full text]
  • WAY out WEST Brochure
    P.O. Box 8038 Long Beach, CA 90808-0038 WAY OUT WEST The Los Angeles Jazz Institute presents WAY OUT WEST a celebration of big bands on the west coast past and present THE CROWNE PLAZA REDONDO BEACH & MARINA HOTEL OCTOBER 5-8, 2000 SCHEDULED TO APPEAR MAYNARD B FERGUSON IG BOP ’S WAY OUT NOUVEAU WILSON ’m very pleased to announce a four day jazz festival set to take ERALD I HE G place October 5th through the 8th at the Crowne Plaza Hotel in T WEST ORCHESTRA Redondo Beach, a very popular venue for many of our previous events. T The focus this year is “Way Out West”-Big Bands on the West Coast- HE BILL HOLMAN Past and Present. ORCHESTRA Following in the footsteps of “Back To Balboa”, “Early Autumn”, “Blowin’ Up A Storm”, “Modern Sounds” and “Jazz West Coast I & II”, GIBBS’ “Way Out West” will feature concerts, panel discussions, film showings, TERRY THE BAND vendors offering compact discs, records, memorabilia— and much more! DREAM This incredible gathering includes many of the most outstanding THE CLAYTON big bands in the world, all featuring an amazing array of jazz soloists. -HAMILTON JAZZ ORCHESTRA Full registration is $300.00 which includes admission to all events or, you can purchase individual event tickets which range from $10-$25. DATES October 5-8, 2000 For the first time, full registrants will have reserved seating for all THE BOB FLORENCE concerts. Seats will be assigned in the order registrations are received. LIMITED EDITION PLACE The Crowne Plaza Redondo Beach & Marina Hotel SEND YOUR CHECK OR MONEY ORDER TO: 300 North Harbor Drive THE PHIL NORMAN Redondo Beach, CA 90277 The Los Angeles Jazz Institute TENTET P.O.
    [Show full text]
  • The Legacy of S Ta N K E N to N
    THE UNITED STATES ARMY FIELD BAND JAZZ AMBASSADORS The Legacy of S TA N K ENTON Washington, D.C. “The Musical Ambassadors of the Army” he Jazz Ambassadors is the Concerts, school assemblies, clinics, T United States Army’s premier music festivals, and radio and televi- touring jazz orchestra. As a component sion appearances are all part of the Jazz of The United States Army Field Band Ambassadors’ yearly schedule. of Washington, D.C., this internation- Many of the members are also com- ally acclaimed organization travels thou- posers and arrangers whose writing helps sands of miles each year to present jazz, create the band’s unique sound. Concert America’s national treasure, to enthusi- repertoire includes big band swing, be- astic audiences throughout the world. bop, contemporary jazz, popular tunes, The band has performed in all fifty and dixieland. states, Canada, Mexico, Europe, Ja- Whether performing in the United pan, and India. Notable performances States or representing our country over- include appearances at the Montreux, seas, the band entertains audiences of all Brussels, North Sea, Toronto, and New- ages and backgrounds by presenting the port jazz festivals. American art form, jazz. The Legacy of Stan Kenton About this recording The Jazz Ambassadors of The United States Army Field Band presents the first in a series of recordings honoring the lives and music of individuals who have made significant contri- butions to big band jazz. Designed primarily as educational resources, these record- ings are a means for young musicians to know and appreciate the best of the music and musicians of previous generations, and to understand the stylistic developments leading to today’s litera- ture in ensemble music.
    [Show full text]
  • Chronological Discography
    Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St.
    [Show full text]